It's been used in hundreds of TV shows and films.

它被用於數百部電視劇和電影中。

It's so famous that if you can't remember this, you can just google “that famous cello

它太有名了，如果你記不住，你可以用谷歌搜索 "那個著名的大提琴"。

song” and it will invariably pop up.

歌曲"，總會彈出。

Yes, this prelude is well known, but perhaps what's most compelling about it is how incredibly

是的，這首前奏曲是眾所周知的，但也許最令人信服的是它是如何令人難以置信的。

simple it is.

簡單的是。

The whole thing takes up just two pages of music and it's composed for an instrument

整首曲子只用了兩頁樂譜，而且是為樂器譜寫的。

that has just four strings.

只有四根弦的。

Yet, it's considered a masterpiece that world class cellists and even everyday music

然而，它卻被認為是世界級大提琴家甚至是日常音樂的傑作。

listeners have revered for years.

聽眾多年來一直崇尚。

So, what makes this composition so memorable, timeless, and beautiful?

那麼，是什麼讓這篇作文如此令人難忘、雋永、美麗呢？

Well that's what Alisa is going to help me deconstruct.

這就是艾麗莎要幫我解構的東西。

My name is Alissa Weilerstein, and we are talking about the Prelude from Bach's first

我的名字是Alissa Weilerstein 我們正在討論巴赫第一首曲子的前奏。

cello suite in G Major.

G大調大提琴組曲。

This is Bach.

這是巴赫。

And these are his six cello suites.

而這是他的六首大提琴組曲。

Within each suite are various movements named for dances, and they each have very strict

在每個套曲中，都有各種以舞蹈命名的動作，而且每個動作都有非常嚴格的要求。

structures.

結構。

These movements are all masterpieces in music, and they get increasingly complex.

這些樂章都是音樂中的傑作，而且越來越複雜。

But before these dances begin, there's always a Prelude.

但在這些舞蹈開始之前，總有一個前奏。

In the Bach suites, it's a way to establish the key, to establish the motives, and it's

在巴赫的套曲中，它是建立調式、建立動機的一種方式，它是

also a kind of improvisation.

也是一種即興表演。

And this prelude in particular is revered because it achieves a lot with just a few

而這首前奏曲之所以受到推崇，是因為它用短短的幾首曲子就實現了很多

very simple concepts.

很簡單的概念。

To understand how, you first have to understand the very basics of the song.

要想了解如何理解，首先要了解歌曲的最基本的內容。

There's two main chords and keys you need to remember here, G and D.

這裡有兩個主要的和絃和調你需要記住，G和D。

Bach plays them off each other the entire prelude.

巴赫在整個前奏曲中都在互相演奏。

G is the home key for this composition - it's called the tonic.

G是這首曲子的主調--這叫調式。

And every tonic has a dominant - that's the note a fifth above it.

而每個音都有一個主音--就是比它高五分之一的音。

If this is all going in one ear and out the next don't worry.

如果這一切都在耳朵裡，下一個就出來了，不要擔心。

Just remember this, the tonic and dominant work really well together.

只要記住這一點，補品和主品的配合真的很好。

Where the dominant represents tension, the tonic represents release.

其中主音代表緊張，副音代表釋放。

And the cello is the perfect vessel to showcase this relationship.

而大提琴是展示這種關係的最佳容器。

This is a cello.

這是一個大提琴。

It's the closest in range and in ability to express to the human voice.

它在音域和表達能力上最接近人聲。

You start from the very low range down here.

你從這裡的很低的範圍開始。

You can imagine a really bass baritone type of sound to way up here.

你可以想象一下，這裡的聲音真的是低音男中音的類型。

This is really a violin range.

這真是一個小提琴的範圍。

Because the prelude is written in G major, it allows for a lot of open strings on the

因為前奏曲是以G大調寫成的，所以它允許在

cello, which gives the song a very natural resonance.

大提琴，使歌曲產生了非常自然的共鳴。

An open string means I don't stop it with a finger.

開弦的意思是我不用手指去阻止它。

So if I do nothing with my left hand, this sounds a G.

所以如果我左手什麼都不做，這聽起來就是個G。

With a G major chord, two out of the three notes are open.

G大調和絃，三個音中有兩個音是開放的。

This natural sounding quality is what defines the G major prelude, and it's exactly what

這種自然的音質是G大調前奏曲的特點，而這正是

Bach exploits starting with its first few measures.

巴赫利用從其前幾項措施開始。

During the first half of the composition Bach is constantly arpeggiating chords.

在作品的前半部分，巴赫不斷地對和絃進行琶音。

It's a simple technique that enriches the harmony.

這是一個簡單的技術，豐富了和諧的內容。

So this will be a G major chord.

所以這將是一個G大調和絃。

And then arpeggiated.

然後再進行琶音處理。

There's a separation between the notes.

音符之間是有隔閡的。

And then you go on.

然後你繼續。

But he also does something else.

但他還會做一些別的事情。

For me, one of the most profound aspects of this is the pedal point.

對我來說，最深刻的一個方面就是踩點。

Which means that the bass note remains constant even while the harmony is changing.

也就是說，即使在和聲變化的時候，低音音符也保持不變。

The bass note through the first four measures is that very natural open G - its job is to

前四小節的低音音符是非常自然的開放G音--它的作用是

keep you rooted in the key of the song.

讓你紮根在歌曲的關鍵。

With the bass.

與貝斯。

So then you have that gravitas in there, even while the harmony is moving around.

所以，你就有了那種氣質在裡面，即使是在和諧的情況下，也在移動。

After these four measures though, things start to shift.

不過在這四項措施之後，事情就開始轉變了。

Bach starts to pull the song away from the tonic to the dominant.

巴赫開始把歌曲從調性拉到主調。

Then we loose the pedal.

然後我們就會鬆開踏板。

So this is the first shift, right?

所以這是第一更，對嗎？

And then here we land in D major, the dominant.

然後我們在這裡降落在D大調，主音。

You have a diminished chord here.

你這裡有一個減音的和絃。

Kind of cloud in the sky.

天空中的那種雲。

A minor.

一個未成年人。

Then we climb again from here.

然後我們再從這裡爬上去。

Just like that, we're back to that familiar G pedal point.

就這樣，我們又回到了那個熟悉的G踏板點。

Listen for the bottom G.

聽聽底層的G。

Home again.

又回家了。

Near the end of the first half, Bach again drifts away from G major and reaches even

在上半場接近尾聲時，巴赫又從G大調漸行漸遠，甚至達到?

deeper into the cello's bass range with a low C. Listen to this.

用低沉的C調深入到大提琴的低音區，聽聽這個。

The chord is [plays chord] with a D. Here.

和絃是[彈奏和絃]的D，這裡。

But he flips it on its head.

但他把它翻了個底朝天。

With a C on the bottom.

底部有一個C。

By the end of the first half Bach has pulled us completely into D major.

上半場結束時，巴赫已經把我們完全拉進了D大調。

He's warming our ears up for the second half of the composition which is all about

他在為我們的耳朵熱身，作文的後半部分，是關於

exploring that dominant key.

探討這個主導的關鍵。

At the beginning of the second half of the movement, right after the fermata which means

在樂章後半段的開頭，緊接著是 "發酵塔"，這意味著

to hold on the note, then you have a very improvisatory section coming up.

保持在音符上，那麼你有一個非常即興的部分來了。

And this is actually I think my favorite moment of it with this E flat.

而這其實是我覺得我最喜歡它與這個E平的時刻。

This dissonance.

這種不和諧。

And all of that just to get to D major.

而這一切只是為了達到D大調。

We know that we have to get back to G major somehow.

我們知道，我們必須以某種方式回到G大調。

How are we going to do it?

我們要怎麼做呢？

Now we start to kind of climb down.

現在我們開始種爬下來。

C

C

B

B

A

A

Still in D major

還是D大調

Bach pushes us more firmly into the world of D major with a technique called bariolage.

巴赫用一種叫做 "bariolage "的技巧將我們更堅定地推向D大調的世界。

It's when you're making string crossings and it's actually supposed to kind of create

這是當你在做字符串交叉，它實際上應該種創建

this kind of feeling of disorder.

這種感覺很紊亂。

We have a constant open A string.

我們有一個常開的A串。

Which is this.

這是什麼？

It's only one note that we're just repeating over and over again.

只有一個音符，我們只是在不斷地重複。

And this is what causes all this mayhem, right?

這就是造成這一切混亂的原因，對嗎？

All these attempts to get out of D major and he can't do it.

所有這些嘗試都是為了擺脫D大調，但他做不到。

Now we're in G major!

現在我們是在G大調！

If you didn't catch that, something really quite perfect happened.

如果你沒聽懂，那就真的發生了很完美的事情。

Let's play it again.

我們再玩一次吧。

You just wound up exactly where you started, D major.

你剛剛結束了你開始的地方，D大調。

And then you have a chromatic scale up.

然後你有一個半音階了。

And you land on this high G here.

而你落在這個高G的地方。

And that's when we feel this kind of ecstatic feeling.

而這時我們就會感覺到這種欣喜若狂的感覺。

Leading up to G major's big reveal, Bach brings back that familiar pedal point from

在G大調的大揭祕之前，巴赫又將那個熟悉的踏板點從

the intro, but instead of using the G as the bass note, he flips the chord and uses the

前奏，但他沒有使用G作為低音，而是翻轉了和絃，使用了

dominant D.

占主導地位 D．

The bass note remains constant.

低音音符保持不變。

Even as we're going up the chromatic scale.

即使我們在上半音階的時候。

Listen, I'll do it slow.

聽著，我會慢慢來的。

OK, now I know where I'm going.

好了，現在我知道我要去哪裡了。

And we're so happy about it that we have to just keep kind of wandering around it.

而我們對它是如此的滿意，以至於我們只能一直種在它周圍徘徊。

And, going back to one.

而且，回到一。

Cellist all over the world wrestle with this prelude and the cello suites as a whole every

世界各地的大提琴家每天都在與這首前奏曲和整個大提琴組曲搏鬥。

single day.

單日。

We cellist, we always feel sort of unworthy of it.

我們大提琴家，總覺得有點不值得。

The music is so pure, so sublime, so emotional, so intellectual.

音樂是如此的純粹，如此的崇高，如此的情感，如此的智慧。

They must be played, and yet we feel like we can't we can't really ever do them justice.

他們必須被玩弄於股掌之間，但我們卻覺得我們不能... ...我們真的永遠無法為他們伸張正義。